{"id":52894,"date":"2016-10-13T14:44:06","date_gmt":"2016-10-13T11:44:06","guid":{"rendered":"https:\/\/ngradio.gr\/en\/?p=52894"},"modified":"2016-10-13T14:44:06","modified_gmt":"2016-10-13T11:44:06","slug":"film-review-ben-affleck-accountant","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/film-review-ben-affleck-accountant\/","title":{"rendered":"Film Review: Ben Affleck in \u2018The Accountant\u2019"},"content":{"rendered":"

While audiences wait for Ben Affleck’s Batman movie, this unusual thriller is just comic-book-like enough to tide them over.<\/h2>\n
\n

Say what you will about Ben Affleck<\/a> as Batman, or Jack Ryan, or any number of other action heroes that have seemed to be a stretch for the boy-next-door star, but Affleck is a terrific fit for \u201cThe Accountant<\/a>,\u201d in which he plays an autistic assassin. Though his choice in material is strong, the actor\u00a0has always been a strange kind of thespian, one who seems so normal and non-actorly that most of his performances feel like watching one of your buddies up on screen, pretending to be someone he\u2019s not. Here, Affleck, who formerly drew the short end of the stick playing the dumb townie to Matt Damon\u2019s math savant, finally gets to embody the numbers whiz, and also to run around shooting some heavy-duty guns: It\u2019s like Will Hunting and Jason Bourne rolled into one, brains and<\/em>bullets. What\u2019s not to love?<\/p>\n

Based on a deliciously pulpy Black List screenplay by Bill Dubuque, \u201cThe Accountant\u201d was one of those projects that admirers imagined would never get made \u2014\u00a0and maybe they had a point, seeing as how the script casually assumes that someone with Asperger\u2019s Syndrome is potentially wired to become a ruthless killing machine. In the wrong hands, the screenplay could have been as controversial as Brian De Palma\u2019s \u201cDressed to Kill\u201d was with the trans community. But here, director Gavin O\u2019Connor (\u201cWarrior\u201d) demonstrates the right way\u00a0to handle such material, elevating what is essentially an exploitation movie into a zen character study, one that takes its pound-of-flesh antihero seriously.<\/p>\n

As Christian Wolff (just one of this character\u2019s\u00a0many aliases), Affleck plays a CPA who crunches numbers as efficiently as he crunches bones, and capturing that odd combination is all about tone. O\u2019Connor has a close friend who is the parent of an autistic child, which makes him unusually sensitive to the film\u2019s trickiest ingredient: Instead of presenting Affleck\u2019s Christian Wolff as some kind of freak, he treats the guy as special, blessed with an ability that makes him almost superhuman. (As if speaking to a junior X-Man, his father says, \u201cYou\u2019re different. Sooner or later, difference scares people,\u201d before sending his son into a Silat fighting match with three adults.) By extension, \u201cThe Accountant\u201d is a hair\u2019s breadth removed from being a superhero movie, unfolding with the kind of fun, comic-book energy all but absent from \u201cBatman v Superman: Dawn of Justice\u201d earlier this year, while maintaining the requisite degree of gravitas.<\/p>\n

A suitable analogy might be the film that remains M. Night Shyamalan\u2019s best, 2000\u2019s all-but-forgotten superhero prologue \u201cUnbreakable.\u201d Like that film, \u201cThe Accountant\u201d is built almost entirely upon exposition as Dubuque juggles no fewer than four separate story threads: He gives us Wolff\u2019s current assignment, which involves \u201cuncooking\u201d the books at a company called Living Robotics whose founder (John Lithgow) uses the company\u2019s benefits to justify the most heinous kind of behavior. At the same time, from the sidelines, Treasury Dept. investigator Ray King (J.K. Simmons) enlists a young analyst, Marybeth Medina (Cynthia Addai-Robinson) to identify the shady figure who\u2019s been managing the finances of arms dealers, mobsters, and the world\u2019s other most-wanted criminals. And then he incorporates two separate flashback tracks via which the audience slowly comes to understand how Wolff got to be the way he is, one revealing his extremely complicated childhood (tough love doesn\u2019t come any tougher than the boot camp Wolff\u2019s dad puts him through) and the other, a life-changing stint in Leavenworth, where a disgraced mob accountant (Jeffrey Tambor) teaches his autistic young prot\u00e9g\u00e9 the secrets of money laundering.<\/p>\n

Actually, there\u2019s a fifth track woven in for good measure, one involving another equally ruthless assassin, Brax (Jon Bernthal), moving in parallel with Wolff, and seemingly one step ahead of him the whole way. To call this structure complex would be an understatement. Instead, King offers another analogy: \u201cDo you like puzzles?\u201d he asks agent Medina, a woman with her own secrets (secrets that, frankly, aren\u2019t so interesting or relevant, but represent the script\u2019s commitment to creating surprising and multi-faceted characters, even as they spout dialogue that sounds like it ought to be contained in comic-book talk bubbles). \u201cThe Accountant\u201d is nothing if not a puzzle \u2014 not so much a jigsaw as a three-dimensional brain teaser that gets deeper and stranger with each new revelation.<\/p>\n

In the middle of it all is Affleck, an actor whose ultra-low-key demeanor works to the role\u2019s advantage.\u00a0Here,\u00a0instead of being asked to emote, he plays an expressionless math prodigy who can multiply big numbers in his head; does his computing with dry-erase markers, \u201cA Beautiful Mind\u201d-style, on big glass windows (the most cinematographic way to do math); and occasionally shoots people point-blank in the temple without even the slightest change in pulse. This cold-blooded latter tendency really seems to satisfy a certain segment of the audience these days, drawing impressed \u201cooohs\u201d during an advance screening hosted by Beyond Fest in L.A., and yet it represents a troubling new trend in action movies \u2014 one in which lethal efficiency is something to be celebrated. It\u2019s the way Daniel Craig\u2019s 007 does business, disposing of life as if \u2026 well, as if life were disposable.<\/p>\n

The already-plausibility-straining movie offers Wolff a chance at redemption: Dana Cummings (Anna Kendrick), Living Robotics\u2019 in-house accountant, a chipper finance enthusiast who has no idea that her discovery will make her a target for elimination. Wolff, who seems entirely incapable of romance, thaws just enough to reorganize his plans in order to protect her.<\/p>\n

Kendrick (following this year\u2019s \u201cMr. Right\u201d) finds herself once again making excuses for a sociopathic would-be boyfriend. She\u2019s not terribly convincing as an accountant, but she\u2019s certainly\u00a0adorable, and she brings a much-needed dose of humanity to a film in which everyone else could be described as \u201cliving robotics.\u201d<\/p>\n

Even the score boasts a strangely mathematical dimension (but then, most music does), building ominous, electronic momentum beneath the increasingly tense proceedings, which lead to the sort of \u201che\u2019s coming for you\u201d showdown that makes movies like \u201cJohn Wick\u201d so guiltlessly satisfying. O\u2019Connor lends a mysterious, \u201970s-movie edge to the proceedings, enlisting DP Seamus McGarvey to shoot on 35mm, which, coupled with filters that bathe everything in bronze and blue tones, provide deep, inky shadows in which the characters\u2019 secrets seem to hide.<\/p>\n

None of it seems all that far removed from world of Batman, at least not the one envisioned by Christopher Nolan, and we can hope that, when\u00a0Affleck gets around to directing his own chapter of the Dark Knight saga, it will be as well-constructed and focused as this film. In the meantime, there should be enough common DNA here to appease fans: Simmons may as well be this movie\u2019s Commissioner Gordon, while Wolff\u2019s backstory reveals a tortured vigilante who may as well be wearing a cape and costume, but instead feels most comfortable in his wireframe glasses and pocket protector.<\/p>\n<\/div>\n

 <\/p>\n

Source:\u00a0variety.com<\/p>\n","protected":false},"excerpt":{"rendered":"

While audiences wait for Ben Affleck’s Batman movie, this unusual thriller is just comic-book-like enough to tide them over. Say what you will about Ben Affleck as Batman, or Jack Ryan, or any number of other action heroes that have seemed to be a stretch for the boy-next-door star, but ...<\/p>\n","protected":false},"author":6,"featured_media":52895,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4545],"tags":[],"class_list":["post-52894","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"acf":false,"yoast_head":"\nFilm Review: Ben Affleck in \u2018The Accountant\u2019 - NGradio.gr<\/title>\n<meta name=\"description\" content=\"While audiences wait for Ben Affleck's Batman movie, this unusual thriller is just comic-book-like enough to tide them over.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/entertainment\/film-review-ben-affleck-accountant\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Film Review: Ben Affleck in \u2018The Accountant\u2019 - 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